Research Catalogue

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 62 pocket sketchbook black marker and ballpoint pen drawings. Preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children: how they love, amongst other. I wanted to emphasise that element, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp, but intimate twist, as commentary, in the British tradition of political satire, to the otherwise dark subject matter. Finally, this artistic style refers to the populist character of actors. The text is written like trip-hop songs: two of the pseudonyms I gave are the artistic names of musicians of colour from the British band "Massive Attack", formed in Bristol. Otherwise, it is loosely structured in a manner inspired by television series. I used heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition displays loosely and in lay terms vocabulary as rhetorical devices from analytic metaphysics, as well as gender and romance studies; for instance, I use the word "unactualised" to refer to individuals, who are real and concrete, who exist independently of my mind, however they were not "actualised" in my so-called personal life and dating practices: for that, I would have to select them, in order for them to be "instantiated" in my dating. The exposition is underpinned by an underlying neo-Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. For "Panos" ('Ramadan', 'Julien', "Mr X"), Filip ('Philip'), 'Ricardo', and Brandon ('Magna') (and Nick) - August, September, and October 2024 (March 1996). For "Daddy G" ('Isaac'), 'Eric' ("Her Man"), 'Prudence' ("'Sharon''s Beau", or "Her Man's alter-ego"), 'Moussa', 'Gaetan'; Black 'Humbert Humbert' meme (and friend), 'Miloud'; Mohammed' ('Onzedouze'), 'Hermando', 'Nesseem', 'Didi', and 'Bilal' - December 2024, January 2025, May, June, July, August, September, as well as November to December 2025; again January, February, March and May 2026, with 'Prudence' in Paris, and 'Didi', in Brussels, meeting 'Bilal', in Brussels, too, in March and Salim, in Paris, too, in June 2026. Seven men of colour and eight (+ two) white men, most of whom were also targeted, directly and indirectly. Who are not politicians, except for a current one and a former one, but are doing something political, so they must take good care of what they do. These dates provide a concept for a performance involving re-enactments with actors of elements of those dates. All my drawings were stolen in Paris and Brussels, in 2025. Reference Ariel Levy, "Female Chauvinist Pigs. Women and the Rise of Raunch Culture", New York: Free Press, 2005.

Arts-based-philosophy is an emerging research concept at the cutting edge of the arts, philosophy and the Sciences in which cross-disciplinary research collectives align their research practices to finally stage their investigations in field-performances, shared with the public. Our research explores the significance of the HEART in artistic research and performance philosophy from a cross-cultural perspective, partially based on the concepts of the HEART in the works of two artist-philosophers, in which philosophy already became arts-based-philosophy: Nietzsche’s Thus Spoke Zarathustra and Aurobindo’s poetic opus magnum Savitri. We generally assume that the works of artist-philosophers are not only engaged in “creating concepts” (Deleuze), but their concepts are also meant to be staged artistically to let them bodily matter in fact. The role of the HEART in respect to this process of “bodily mattering” is the core objective under investigation: Firstly, because we hold that atmospheres trigger the HEART of a lived-body to taste the flavor of things it is environmentally engaged with basically in an aesthetic manner (Nietzsche). In this respect the analysis of the classical notion for the aesthete in Indian philosophy and aesthetics, sahṛdaya––which literally means, “somebody, with a HEART”––becomes crucial. Secondly, because the HEART is said to be not just reducible to one’s manifest Nature, but has access to one’s virtual Nature as well. The creation hymn in the oldest of all Vedas (Rgveda) for instance informs us that a HEART is capable of crossing being (sat) & non-being (asat), which makes it fluctuate among these two realms and even allows its aspirations to let virtual possibilities matter. Such concepts show striking similarities with contemporary concepts in philosophy-physics, e.g. the concepts of “virtual particles” and “quantum vacuum fluctuations” (Barad).

Concept and preparatory research for "rotating" art installation, with web art and changing performers, 2016-present. Happening, 2016. Participant's empirical research, including improvised full recorded interview with first generation Albanian immigrants to Greece, images, and thematic text. The research was conducted for the workshop, "Logics of Worlds", inspired by Alain Badiou's work and organised by architect Filippos Oraiopoulos, at Athens School of Fine Art (ASFA), Master of Visual Arts (Marios Spiliopoulos, Giorgios Xiropaides), December 2016. Adopting upon own initiative the political approach of Badiou's "L' Organisation Politique", to apply direct intervention for societal problems, including immigration and labour, I used play as a method to facilitate improvised discussions. People share and respond more freely when participating in structured, but playful interactions, such as those a game involves. Albanians speak three languages: Albanian, Italian and, only a few of them, Greek; so I wasn't able to translate parts of the conversation. Avlona is an English now obsolete name for Vlore, an Albanian seaport and former ancient Greek colony Aulon. Albanians came as non-EU refugees to Greece initially in the 1990s, after the fall of communism in their home country. Religion was banned in communist countries; however, nowadays, Albanian-Muslims consist of 59% of the Albanian demographics, with other religious denominations, such as Christian Catholics, taking smaller percentages of the population. The democratisation of Albania began shortly afterwards, in 1994, when Albanians protested for political and religious pluralism. During the transition period after communism, under the Democratic Party government, Vlore became a port through which smuggling, mainly from Italy, was taking place. Notably, the men I spoke to didn't want to be visualised. The exposition aims to juxtapose the experimental and the conceptual in the fine arts - and to make the 'invisible' visible. The workshop was slightly interrupted by a performing arts student, who brought a live hen to slaughter in the studio. This can be taken as a metaphor for scapegoating non-EU refugees, by symbolically re-assigning the gender of male, or female persons, who are not non-EU refugees. I don't have any personal or other familial connections with Albania - or Kosovo, or North Macedonia, which are both former Yugoslavian countries; all the nationalities shown on fifteen (15) fake non-EU passports, used illegally in the UK from 2012 and 2014 until 2023. I had never even visited those countries before the summer of 2024. I found out that, as former communist, they are a completely different world. For example, in Albania, they only have state television, while they don't sell Western music and they rarely play it in bars that most close at midnight, even in the summer on the coast. The 2016 ASFA project was for the purpose of researching and documenting, in an artistic and ethnographic manner, the refugee and immigration crisis, as I experienced it in my native Greece, as well as to voice my opinions from my perspective as a native Greek. I spoke to non-EU economic refugees, who must not be confused with political asylum seekers: those are people who encounter persecution for political and ideological reasons from their countries of origin and citizenship; unlike illegal or legal economic immigrants, such as the men I spoke to, who immigrate purely for economic reasons. Not so paradoxically, the project's political outcome was that four fictitious "daughters" of mine had been on the Met's databases, supposedly born in 2007, 2005, 2001 and 2000, Italian and Albanian, also 'transformed' into Greek, French and Spanish - with the last one only, the eldest, remaining simply Italian - female sex offenders; as well as two fictitious Albanian "sons" of mine, both thugs, supposedly born in 2003 and 2004, in the National Police's databases. This was the case until January 2026, making it a total of eight (8) and six (6) years, as well as three (3) and four (4) years, with corrections made in January 2026 - and even then, not all of them: born in 2000, "Betty Nigianni", Italian, dated 2020, still pending in June 2026. Badiou is also known for his philosophy of metaphysics of the four "truth procedures": Politics, Science, Love and Art. Special thanks goes to Wes Streeting, who served as Health and Social Security Secretary under Keir Starmer's Labour government until May 2026. Please see also the extended abstract. The exposition has frozen since May 2026; I cannot edit any of its components. Of the four sections to be corrected, in July 2026, only the 2020 three MPS files, with the fake Italian DL, Betty Nigianni, born in 2000, as well as two files at Solent NHS, with the two fake Albanian passports, Panagiotis Nigiannis, born in 2003, and Panagiotis Nigiannis, born in 2004, are pending for correction.

Thesis / Research Document of the Royal Academy of Art, The Hague, 2026. BA Fine Arts. This research begins not with a theory, but with a dream that resisted explanation. Rather than approaching dreams as symbolic messages to decode, the project considers them as material for artistic transformation. Starting from a recurring personal dream, the research investigates how unstable, private experiences can move into shared reality through painting, writing, and spatial practice. Rather than asking what dreams mean, this project asks what happens when dreams are externalized. What is gained, altered, or lost when something deeply personal and difficult to grasp takes material form? Throughout the research, dreams are approached not as fixed narratives but as shifting experiences that change through memory, language, and artistic process. The project examines different modes of dream manifestation through historical references and artistic experiments. Examples such as *Dream Journey to the Peach Blossom Land* (*Mongyudowondo*) and dream records in *Swaemirok* are considered alongside reflections on painting, drawing, and contemporary artistic practice. These examples reveal that dreams have long been translated into shared forms, yet never without transformation. This thesis argues that every attempt to manifest a dream inevitably involves loss. However, this loss is not treated as failure, but as a structural condition of translation itself. Rather than preserving a dream intact, artistic manifestation produces traces: forms through which private experiences become present while remaining partially inaccessible, leaving space for new encounters and interpretations to emerge.

Royal Academy of Art, The Hague Thesis / Research Document of the Royal Academy of Art, The Hague, 2026. BA Interior Architecture & Furniture Design. My project is the speculative renovation of a house in Aix-en-Provence. A place filled with life from its ancient roman time and its spring water to Cézanne and its interpretation of nature and light. The study and understanding of the local history, the house and its inhabitants has guided each decisions in the space. The key point was to recreate the story of the place, this house in Rue Fouranne, a former humble cabanon with a later 70s house gain back its personal story. In my reinterpretation i mixed past and present creating an intemporal house renovation proud tp carry the heritage of the South of France.

Research Paper, Royal Academy of Art, The Hague, 2026 BA Interior Architecture and Furniture Design 'Transforming Archives' looks into the transformative quality of archival practises and how it allows us to look at time passed through not one fixed lens but from various perspectives as time will inevitably transform how we understands and interpret the past. It explores archives as containers of the narratives we tell of life lived which also conditions the live that will be lived. Seeing archival practices as an act of editing and narration through practicality such as materialising and storing as well as representation and power structures, it argues that it is important to not let these narratives become static but that they keep transforming through engagement to provide multiple narratives from several perspectives of the human experience.